Products

Hand stamped white label in plain sleeve. Numbered xxx/100. 
(dfa 2461 / 2015)

Featuring Pat Mahoney (LCD Soundsystem) and Dennis McNany

 

1. Monotronic (Baldelli & Dionigi Remix)

2. Who's Who Of Who Cares (Baldelli & Dionigi Remix)

Museum of Love is the musical project of Pat Mahoney (Founding member of LCD Soundsystem) and Dennis McNany (Jee Day).

For the 10th anniversary of Museum Of Love's self-titled debut, the band made a very special white label version, with a cover composed of various velum prints and an insert featuring Pat's incredible lyrics, which were tragically left out of the original design.

Limited to 100 pieces total. Assembled by hand by Museum Of Love at DFA HQ. Available only on the DFA store.

**

Museum of Love is the musical project of Pat Mahoney (Founding member of LCD Soundsystem) and Dennis McNany (Jee Day).

 

"A merciless triumph" - The Wire

You must surrender. Because if you’ve followed Naum Gabo over the past 15 years - across various 12-inches, styles, and notable labels - and you’re listening to “F. Lux,” their first proper album, then you’re probably wondering how you wound up here, all the way down, barely able to see through the brain-clogging atmosphere and towering low-end.

“F. Lux” is deep, enthralling listen, alternating between moments of pounding, world-ending techno (“Schinokapsala” and “This 1¨º∆”) and sharply imagined, surrealist scenes painted with metallic machines ("Aora" and "Haerstag"). There is light to be found in the darkness, but the only way out is through.

Naum Gabo are Glasgow’s Jonnie Wilkes (also known as one-half of DJ duo Optimo) and James Savage (prolific mastering engineer). F. Lux was written and produced entirely by them at their Glasgow Hottrax Studios and mastered by James Savage. The album's front cover artwork is a painting by cherished Scottish painter, Andrew Cranston. The vinyl was pressed at MPO in France using lacquers cut by Bob Weston in Chicago.

1. Aora
2. Tols
3. Schinokapsala
4. Hebust Cometh
5. Haerstag
6. This 1¨º∆
7. Nothing In My Hand
8. Parasymptofelia

Free shipping in the US and UK.

Bright AF for your spring and summer. Single color pocket print on a Comfort Colors 1717 Neon Lemon blanks.

Exit Entrance is the DFA debut for Kohei Matsunaga aka NHK yx Koyxen. 

Kohei has been making / releasing music since 1997 and has recorded for such iconic labels as Mille Plateaux, Important, Pan & Diagonal. His latest recordings explore intricate drum programming, lush melodies & sparkling arrangements. Touchstones include the legendary Clicks & Cuts compilations from the 1990’s as well as Aphex Twin & Autechre. RA called his music “bombastic techno funk….unpredictable but rarely disappointing.” 

Exit Entrance is a collection of new songs that snap and flicker unlike anything Kohei has done in the past. There is a clarity and beauty to these tracks that bursts out of the speakers in a three dimensional way, matching the 3D glasses that the artist wears during all his live performances. The elegant arrangements and crisp drum breaks match the concise song titles – Kohei foregoes the typical impenetrable track names made up of numbers and shorthand, and opts for a more direct emotional sincerity through the sonic themes of the record. 

Not all the music here falls into the same exact formula. As the album heads towards a close, after several tracks of harmonious beauty, we get “Outset (for Mika Vainio),” a somber hushed techno tune, dedicated to his late friend and musical collaborator, who unexpectedly passed away earlier this year as the record was being completed. What follows after this track is perhaps the real catharsis, as “Dented” ominously kicks off with acidic stabs and rolls into a tumultuous dirge of gritty techno. 

In this regard, Exit Entrance can play out like a life cycle, a mini opera of birth and beauty, of sorrow and mourning. It is one of the most direct and honest records Kohei has ever made, and DFA is beyond proud to present this work from such an esteemed creative force in the electronic avant-garde world of music.

Track Listing:
1) Meeting
2) Finding
3) Intention
4) Dignity
5) Notice
6) Mutually
7) Outset (for Mika Vainio)
8) Dented

 COMPACT DISC AVAILABLE ON DFA BANDCAMP 

NHK yx Koyxen returns to DFA with Reflexes, a vivid, thorough revisiting of Exit Entrance, his 2017 debut for the label. Reflexes reimagines key songs and motifs from the first album, combining them with new material to create an entirely unique body of sonic permutations. 

Exit Entrance represented a subtle change in Matsunaga’s prolific discography (including releases for Mille Plateaux, Important, Pan and Diagonal) – the tracks held a newfound warmth and sincerity, while also retaining his revolutionary techno weirdness. Tiny Mix Tapes described the record as “intricate, lush electronic songs with simple titles that make you feel feelings,” while Boomkat praised its “lucidly crisp set of breakbeat techno and electro tricks.” 

Reflexes is warmer, more rich in texture and tone than Exit Entrance. Perhaps this is due to its emphasis on spontaneity and live hardware recordings when combined with the original tracks. In the process of recording the album, Kohei was not able to save any audio stems, so when asked about the possibility of making a few remixes, he instead created new iterations of Exit Entrance from scratch. 

Anyone familiar with Kohei’s training as an architect could invoke an ability of reconstruction here, but his process acts more as a testament to the way he is willing and able to make hard sounds malleable. Reflexes is both delicate and sharp, a shapeshifting maze of mood and melody, an ideal reflection of his past work and what is to come. 

**THIS IS A PRE-ORDER ITEM. YOUR RECORD WILL SHIP OUT BEFORE THE RELEASE DATE OF September 7, 2018. TRACKING WILL BE PROVIDED WHEN THE ITEM SHIPS.**

“Echo”, the first album for DFA from acclaimed Norwegian avant garde pop vocalist Nils Bech. It is set for release on October 14th.

A busy stage actor and singer already well known in his native Norway for three albums released on Oslo’s Fysisk Format, “Echo” marks a pivotal turning point for Bech, and something of a radical sonic departure too. The keys to the seachange lie with Bech’s new collaborator, the young underground DJ, producer and beat maker Drippin’, known for his work with American rap artists such as LE1F and Cakes Da Killa. As a result, where his previous work was strange, ethereal and otherworldly – completely and utterly unique - “Echo” throbs with a renewed sense of vigour and urgency, without losing any of the idiosyncratic beauty which marked Bech’s work out before.

The sound created here is strange and immediate. Stuttering sharp bass kicks combine with clanging 5-alarm snare drums made of glass, orchestra stabs and melancholy piano lines jump in and out of the arrangements. These new elements and ideas are married to the already singular voice of Nils Bech, with “Echo” becoming something new, exciting and 100% Norwegian - homegrown and ready for the world. Just listen to new track “Waiting” for evidence of his truly inimitable vision, as martial drums anchor Bech’s floating, weightless vocals, to create something swoonsome, beguiling and defiantly its own creature.

The music comes to full fruition when performed live, as proven at two packed performances at the 2016 By Larm Festival where Nils was joined onstage by both Drippin’ & Øyvind Mathisen, who also produced, arranged and played on the album alongside Bech. Make sure not to miss the completely original and striking sound of Nils Bech.

Tracklist:

1. Waiting
2. Too Little Too Late
3. Glimpse Of Hope
4. Please Stay
5. Drip, Drip
6. Let Go
7. Echo
8. Jealousy
9. A Sudden Sickness

black vinyl edition and CD feature a full color art inner sleeve. 

Previously only available at the LCD Soundsystem 2025 year-end shows at Knockdown Center.

Medium, Large, and X-Large sizes printed on Champion Powerblend S600 blanks.

Smalls, XX-Larges printed on Gildan DryBlend 12000 blanks.

Logo designed by Nick Millhiser.

Vinyl only release -  no digital download. 

Tracklist:
A – LCD Soundsystem – Throw
AA – Paperclip People – Throw

A newly reissued edition of "Throw" by Paperclip People, accompanied by LCD Soundsystem’s interpretation of the iconic song on the flip. Released originally in 1994, "Throw" is perhaps the best known single from Carl Craig’s long running alias; a joyous distillation of Craig’s house, techno, and disco influences .

In 2010, LCD Soundsystem recorded a studio version of "Throw," after the song became a live staple, a a natural fit for a band that never met a 4/4 lock groove it didn't like. The cover was used a bonus track during This Is Happening.

In 2010, Planet E and DFA Records partnered to release a split 12" version of "Throw." This is a repress of that 12".

It all started with a fan letter…

“Hey Peter, just noticed you on a Rhys Chatham link. Just want to say I adore your work, I had a release on DFA recently, and they sent me some of your releases you did with Jonathan - so brilliant! I’ve had “Condo” track for a while, this completely catches my personality and when I feel disillusioned or need comfort, I always put this on, and it makes me feel good and strong.....i will stop gushing now! Thank you! Nik Colk Void x”

This was Peter’s reaction…

“I was quite flattered and was glad that ‘Condo’, one of my lesser-know tracks, was being appreciated. (I was also curious, because the most-viewed clip of ‘Condo’ on Youtube is actually a slowed down version: someone played the 12” 45rpm EP at 33 rpm. The result, however, is quite beautiful.)

I responded, said I hoped we could meet the next time I am in London, and Nik then suggested that she had a track that she was working on, and would I like to listen to it and possibly collaborate. I am always game for a new challenge, so I said sure and Nik sent an mp3.

I was immediately struck by the haunting and evocative nature of the track, the analog synths feeling fresh and familiar at the same time, the vocals having a primal quality of breath and phrasing. I loaded the track into Ableton and instinctively began recording some overdubs. I used analog (Prophet 5) and digital (Moog iPad) synths and a soprano saxophone. I then sent a mix to Nik.

Nik responded quite positively, and over the next few weeks we exchanged files back and forth, experimenting with different mixes and submixes. After a couple of dozen rough mixes, accompanied by email discussions among the three of us (Gabe had entered the process after the first few exchanges,) we settled on a final mix. Shortly after we had a final mix, I synchronized the track with a video that my partner Kit Fitzgerald was working on. This long extended shot fit the music perfectly, and we had a video for ‘Beachcombing’. (A still from this video serves as the artwork for the 12”.)

Initially, there was going to be a one-sided 12”, with ‘Beachcombing’ the only track. Nik then wrote to me that Dominic was also interested in working on a track, and would I be interested in working on a B-side with Dom. Of course, I readily agreed, and I received an mp3 of synth tracks. As previously, I began building up tracks, using the alto sax (rather than the sopranino used on Beachcombing) and the addition of a vintage Korg vocoder.

Once again, a series of file exchanges of mixes, submixes and discreet tracks ensued, and we finally settled on mix #26a. There is kind of a sweet quality which surprised the both of us.”

Peter Gordon and his Love of Life Orchestra--as a new audience discovered upon hearing the FabricLive.36 compilation, a handpicked mix from LCD Soundsystem's James Murphy and Pat Mahoney that opened and closed with Gordon's "Beginning of the Heartbreak / Don't Don't"--are testament to the incredible musical innovations happening in New York City in the late 1970s. Those two compositions, underpinned with disco and gilded with noisy guitar bursts, hanging piano chords and saxophone wails, exhibit not only Gordon's kaleidoscopic vision as a musician, but his precision as a producer and composer. Featuring avant-experimentalists and downtown legends David Byrne and Arto Lindsay as well as Love of Life Orchestra cofounders Gordon and David Van Tieghem, the tracks shine a light on the work of an artist whose influence on dance music is recognizable more than three decades later. 

Gordon's hefty contribution to music is given an up-close look with Love of Life Orchestra, a retrospective of the composer's work. Compiled here are the aforementioned singles and songs that show the breadth and quality of Gordon's output. "Extended Niceties" unfurls a dizzying call-and-response between blaring sax and synths, while the expansive "Roses on the Disco Floor" builds in intensity, size and tempo as it nears its epic end. "Still You" and "Beautiful Dreamer" by Justine & The Victorian Punks (a collaborative project with New York-based visual artist Colette) feature disco grooves and sweetly voiced melodies. "Iago's Escape," which begins with dramatic strings and quasi-operatic vocals, unexpectedly incorporates klezmer-influenced clarinet. "That Hat" is a quirky experiment incorporating early hip-hop beats and featuring vocals from pioneer Arthur Russell, New York Doll David Johansen and Rebecca Armstrong.

The album is rounded out with "Another Heartbreak / Don't Don't Redux," Gordon's own reworking of the seminal opening medley, which freshly reinterprets the original's sax lead and adds new synthesizer parts. Throughout this impressive catalog, harmoniously interwoven strains of jazz, rock and neoclassical, add texture and color to these wonderful songs. Love of Life Orchestra, taken as a whole, serves as ample testimony to the far-reaching scope of Gordon's musical sensibilities and a reminder of his enduring musical legacy.

Tracklisting:

1. Beginning of the Heartbreak / Don't Don't
2. Extended Niceties
3. Don't Don't (Reprise)
4. Roses On The Disco Floor
5. Still You
6. Beautiful Dreamer
7. Iago's Escape
8. That Hat
9. Another Heartbreak / Don't Don't (Redux)
   
   

Optimo (like DFA!) is many things. A party? Yes. A pair of DJs and a record label, too. But it’s also an impish spirit, a focus on community and a dedication to new sounds in old forms. They’ve been part of the extended DFA family for eons - Johnnie Wilkes and JD Twitch played James’ residency at APT back when dinosaurs roamed Manhattan, and their now-retired weekly party in Glasgow hosted many DFA acts during its run.

In the spirit of having more music from our trusted friends and family on these digital record shelves, we have a selection of releases from their label, Optimo Music, available. More on this one straight from the source below...

**

Optimo Music is delighted to present our 2nd Peter Zummo release, this time featuring all new music. This release is a mini album containing 30 minutes of music cut at 45rpm. It is a suite of songs based around this amazing track, "The Tape Is Chill".

Some words from Mr. Zummo -

In this project for Optimo, the listener can hear that my musical food pyramid has musicians at top, or maybe they are at the bottom. In any case, they are important. That is why, from track to track, I selected segments in which one player or another is featured in the take. Some may think that we musicians do multiple takes to get the perfect performance, but I like to find the special interactions lurking in each excursion. Different players came forward in each of the takes, which were recorded in the studios Seaside Lounge and Headroom, in Brooklyn, and live in performances at Cube Cinema, in Bristol, U.K., as well as in Long Island City and on Staten Island, New York.

In order to escape the tyranny of the lyric, I am exploring in this release the possibilities of nonsensical and non-emotional lyrics. These kinds of lyrics bring the singing voices into the mix without an overweening message. The tracks include open-form compositions in which the duration was not specified.

SIDE A: SAO PAULO / VIBE DE VERAO
SIDE B: 9000 / GELO SECO

Earlier this year the São Paulo duo Phillipi & Rodrigo dropped their beautifully uplifting debut album ‘Paciencia’, which earned the backing of an eclectic array of supporters. Now Phillipi is set to release his debut solo EP ‘Amadurecimento’

While ‘Paciencia’ pulsated with a euphoric beach party vibe, Phillipi’s solo project explores much darker territory. By uncompromisingly maximising the bass alongside a relentless beat, lead track ‘São Paulo’ is immediately oppressive and ominous. That intensity only amplifies as it’s blown open with tribal percussion, almost whispered vocals and glitchy synth stabs. ‘Vibe De Verao’ then takes a more progressive approach, with minimalist techno constantly evolving in surprising and inventive ways.

The EP’s second half extends Phillipi’s impossible-to-pigeonhole approach. In complete contrast to the preceding tracks, ‘9000’ is cinematic in scope and lighter in tone, feeling like the score to a lost ‘70s sci-fi cult classic that’s been reworked for 2019. And ‘Gelo Seco’ caps an unorthodox sonic adventure by setting a spliced, stuttered vocal simple around a dancefloor-friendly soundscape - making the title, the Portuguese phrase for dry ice, entirely appropriate.

Recorded, Produced and Mixed at DEEWEE
Art Direction : Ill-Studio
Photography : Maxime Verret

The return of DFA Veterans Prinzhorn Dance School. Single LP features many fine songs, including "I Want You", "Your Fire Has Gone Out", and (my personal favorite) "Crisis Team", which you may listen to below. Includes an instant digital download.

Tracklisting:

1. Happy In Bits
2. Usurper
3. Seed, Crop, Harvest
4. I Want You
5. Your Fire Has Gone Out
6. Crisis Team
7. The Flora and the Fauna of Britain In Bloom
8. Turn Up the Light
9. Sing Orderly
10. Right Night Kay West
11. Shake the Jar

DFA EMI UK 7" / dfaemi7 2178 / 2007 / picture sleeve

 

A. Crackerjack Docker

B. Service, Service

“When our first album came out,” Tobin Prinz (guitar, voice) remembers, “we were awkward, miserable...” “Nervous, uncooperative” chips in Suzi Horn (bass, voice, drums), pausing just long enough for Tobin to supply the punchline - “and now look at us!”  

Prinzhorn Dance School are still recognisably the same spiky Brighton-based duo whose ultra-rigorous debut cut through the excess of 2008 like a scimitar through bacon fat. But with their trademark stripped-down intensity now winningly off-set by moments of unabashed tenderness, their third album Home Economics continues and even accelerates the move away from austerity and into human warmth begun by its acclaimed 2011 predecessor Clay Class. 

The starting point for the new record was the band’s “amazing” first US shows - two of their own and a triumphant showing at DFA’s 12th anniversary - in May 2013. Inspired by their American adventure, Prinzhorn Dance School brought the recording process into the heart of their everyday lives. Played and recorded on the move between different flats in Brighton and Hove, then wheeled around town on a hard-drive wrapped in a sleeping bag in a specially-adapted suitcase, Home Economics gave them an escape route from “that frustration you feel when you spend days trying to recapture the intimacy of a particular moment”, Tobin remembers. “This time we could just use the original take, so sometimes these songs are almost like field recordings”. 

All the best six-track albums - The Fall’s Slates, Orange Juice’s Texas Fever - know exactly what they want to say and how they intend to say it. Home Economics shares that infectious sense of urgency. There’s not an inch of spare meat on it - from Reign’s snatched moment of optimism, through Battlefield’s restorative meeting of minds with an urban fox on a drunken walk home in the early hours, to Let Me Go’s concluding tribute to “a love that won’t rewind and will not be deleted”. Spindly yet sensuous, together and alone, exquisitely sad but somehow full of hope, Prinzhorn Dance School knit together disparate and even opposite fragments into an utterly satisfying whole.

DFA 7" / dfa 2255 / 2010 / picture sleeve

 

A. Seed, Crop, Harvest

B. Off The Radar, Off The System

DFA EMI UK 7" / dfaemi 2171 / 2007 / picture sleeve

 

A. Up! Up! Up!

B. Hamworthy Sports And Leisure Centre

DFA EMI UK 12" / dfaemi 2189 / 2007

 

A1. You Are The Space Invader

A2. Wheat For The Locust

B. You Are The Space Invader (An Optimo (Espacio) Mix)

 

DFA EMI UK 7" / dfaemi7 2189 / 2007 / Picture sleeve with promo sticker

 

A. You Are The Space Invader (Re-recorded with The DFA)

B. 1,2,3,4,5

DFA EMI UK 7" / dfaemi 2161 / 2007 / Picture sleeve 

Ltd. 500

 

A. You Are The Space Invader (Original Version)

B. Eat, Sleep

This is a pre-order. Records will ship the week of June 2.

Proper Monday Number is Suzi Horn (of Prinzhorn Dance School) and Christoph. Their Deep clean your house EP clocks in at 5 tracks, 15 minutes — no flab, no faff, no second guessing, many phrases that belong on the front of t-shirts.

Musically, it’s stuff you know, done in a way you sorely miss. The sounds of late 90s/early 2000s electro may be familiar again, but the delivery here is all heart and self-honesty pushed through cracked plugins and budget speakers.

Play it loud. Lose your bits. Hug a friend. It’s out June 6.

This is a hand-stamped, white label, 1-sided 12" of Proper Monday Number's "High horse" DJ Edit done by Matt Cash and James Murphy.

Limited run of 500.

Proper Monday Number is Suzi Horn and Christoph.

Edit by Matt Cash and James Murphy.

Mastered by Bob Weston.

Engineered by Pablo Morales.

DFA 2279 / 2011 / Picture sleeve

A. Deerhunter - Cool (cover version)

B. Pylon - Yo-Yo (Remix by Calvinist)

(Calvinist = Clem Waldmann (UI) / Sasha Frere-Jones (UI) / vocals by Alexis Krause (Sleigh Bells))

dfa 2213 / 2009

 

A. Tumbling Cubes

B. Trap Door

DFA is thrilled to now offer releases from Voluminous Arts, the new label from Gavilán Rayna Russom, in our online store. Rayna has released a ton of music on DFA under aliases like Gavin Russom, Delia and Gavin, Black Meteoric Star and The Crystal Ark, and she's also been a member of LCD Soundsystem. She's since released music on a bunch of other labels (all of it very good!) and started Voluminous Arts in 2017.

Learn more about Voluminous Arts here.

Official blurb below...

Digital download codes to be provided after purchase.

**

Jamaica Queens born artist Rat Porridge’s work is layered, complex and presents multiple entry points from which one can absorb its potent combination of intensities. One of these is the translucent green of the cassette tape and cover artwork that hold her inaugural release on Voluminous Arts in physical form. Another is the title of this debut album, Live from the Plant. Together these two creative choices already present an interwoven set of meanings and associations that allow entry to the depths that lie within her surging condensations of sonic information. The color green evokes both effusive botanical growth and the toxic sludge produced by manufacturing, while the words “Live” and “Plant” evoke similar associations through language. In her own words, “it’s very multi-meaning, the ‘plant’ is the organic plant of earth, and then there’s the ‘plant’ of the industrial plant. The plant could be a lot of different things, and it’s all those things.”

On Live from the Plant, Rat Porridge uses the permeable and malleable properties of sound to engage the relationships between these multiple meanings in ways that orient themselves towards healing and towards ancestral time, rather than colonial models of binary opposition and categorization. Space and its relationship to the body is a core concept connecting multiple threads of meanings in Rat’s work. Her songs are permeated by field recordings, gathered from spaces, such as shuttered shopping areas, within her environment that have been left empty of commerce and full of possibility after outliving their use to extractive commodity-based market interests. They also reverberate with the physical spaces in which they were recorded; bedroom and basement, critical and traditional sites of underground artistic exploration and community building. Her voice resonates from within the space of her physical body and echoes back from the rooms she works in, creating one of many cumulative forms of repetition present in the work. Repetition also plays a role in her lyrics, which repeat enough times to give listeners added meaning with each engagement. This awareness of space, and of one’s place and power within it grows from her engagement with performance art, activism and the communities she is a part of. As one listens to the album, it becomes a transcription of these interrelated activities, one that charts a trajectory of both individual and collective healing as she ecstatically expands on the rhythmic cycling present in both dance floor oriented music and what mental health practitioners refer to as “circular thinking”. 

With repetition and a circular continuity at their pulsing core, Rat Porridge’s works on Live from the Plant unleash a regimentation-shattering energy that is saturated with multiple temporalities, locations and emotions. Rat’s music, with all of its texture and performance, subverts expectations of what healing art should be: “I feel like there’s an association with so-called ‘healing’ music that it should only be soft, ambient or like easy listening or something like that… relaxing… I listen to things like that, and it's not like I’m not using some of those sounds… but there’s something with just like addressing the brokenness, or addressing the really difficult parts as well, that is like, a step towards the deeper healing.... I’m opening up and so is the art.”

dfa 2291 / 2011

Written by Aaron Pfenning (Chairlift) and Dev Hynes (Blood Orange)

 

A. Equal Dreams Featuring Solange Knowles

B1. Equal Dreams (Instrumental)

B2. Asleep With The Lights On

 

DFA / REKIDS 12" / DFA2204 / 2008

A. Brooklyn Club Jam

B. Brooklyn Club Jam (Brennan Green's Version)

dfa 2342 / 2012

 

A1. Changes (Eluvium Remix)

A2. Changes (Zongamin Remix)

B1. Love & Light (Mickey Moonlight Remix)

B2. Love & Light (Max Gross Regurge)

Hand stamped white label in plain sleeve.

Featuring vocals by Alexis Taylor / Hot Chip
(dfa 2513 / 2016)

 

1. End Of The Trail (Original)

2. End Of The Trail (Instrumental)

3. End Of The Trail (Roman Flugel Remix)

The debut album from DFA veteran Shit Robot, this classic double LP comes in an adorably illustrated gatefold sleeve, and features vocal contributions by James and Nancy of LCD, Planningtorock, Alexis from Hot Chip, and Juan Maclean. Highly recommended, you can't beat this price! Comes with a bonus CD copy AND an instant digital download. You have no excuse.

Tracklisting:

1. Tuff Enuff?
2. I Found Love
3. Losing My Patience
4. Take 'Em Up
5. Grim Receiver
6. Simple Things (Work It Out)
7. Answering Machine
8. I Got a Feeling
9. Triumph!!!

Written by Marcus Lambkin, Juan Maclean, and Nancy Whang.
Vocals by Nancy Whang. Produced by Marcus Lambkin and Juan Maclean.
Remix by Spencer Parker.

Tracklist:
a1. original
a2. spencer parker worktool 1
a3. spencer parker worktool 2
a4. spencer parker worktool 3

b1. spencer parker workmix
b2.spencer parker workdub

Limited edition of just 200 copies 

1 - OB-8
2 - Torpedo

A driving, introspective house banger from the inimitable Shit Robot. Featuring vocals by Ian Svenonius from Nation Of Ulysses / The Make-Up / Chain & The Gang, and a remix by Serge Santiago! 

TRACKLIST: 
A) Simple Things (Work It Out) (Main Mix)
B) Simple Things (Work It Out) (Serge Santiago Version)

Another slamming version of Simple Things (Work It Out) featuring a remix from Mr. Todd Terje. The credits say "More Cowbell by Todd Terje", need we say more?

A) Simple Things (Work It Out) (Main Mix)
B) Simple Things (Work It Out) (Todd Terje Version) 

dfa 2262 / 2010

 

Written and Produced by JAMES MURPHY and MARCUS LAMBKIN (Shit Robot)

A. Tuff Enuff? (Long Version)

B. I Found Love (Wild Geese Remix)

DFA Records is proud to present We Got a Love, the sophomore full-length by Shit Robot a.k.a. Dublin native Marcus Lambkin. Recorded in Germany and New York, the nine-track album includes the killer recent singles, “Feels Real” and “We Got a Love.” 

Like Lambkin’s 2010 debut From the Cradle to the Rave, We Got a Love sports an array of guests that include DFA veterans Nancy Whang, Museum of Love and Luke Jenner (The Rapture), plus hip-house hero Lidell Townsell and Australian singer Holly Backler. The album’s distinctive artwork was created in collaboration with Irish graffiti artist Maser.

 Track List:

1. The Secret (Feat. Reggie Watts)
2. Dingbat (Feat. Museum Of Love)
3. Do That Dance (Feat. Nancy Whang)
4. Do It (Right) [Feat. Lidell Townsell]
5. Feels Real (Feat. Luke Jenner)
6. Space Race
7. Feels Like (Feat. Holly Backler)
8. We Got A Love (Feat. Reggie Watts)
9. Tempest

Marcus Lambkin aka Shit Robot returns with his third full length album for DFA Records, entitled What Follows. The 11-track album was conceived and recorded at Marcus’ home studio in a small town outside Stuttgart; worked on in various New York studios and then mixed over the course of 11 intense & coffee-fuelled days in DFA label mate Juan Maclean’s New Hampshire studio. 

The album follows Lambkin’s previous long-players, From The Cradle To The Rave (2010) and We Got A Love (2014), which drew plaudits from the likes of The Guardian and Pitchfork, and featured Reggie Watts and James Murphy among the array of contributors. 

The Dublin-born producer has enlisted the help of a stellar cast of guests for What Follows, with previous collaborators Alexis Taylor (Hot Chip) and DFA stablemates Museum of Love & Nancy Whang returning, alongside new faces Jay Green and leftfield fellow Dubliner New Jackson. 

What Follows marks a departure in Lambkin’s process - a simple, but fundamental one: getting away from the computer. He said: “This record is a lot more analog than 'We Got A Love', almost all of it comes from connecting machines together and playing around.” What was your biggest influence? “Drum machines.” What began in Stuttgart was followed up on in New York, before being finished in an 11-day blitz in New Hampshire with Juan Maclean. 

Lambkin: “This is the first time that I actually sat down and said, ‘I'm going to make an album now and I'm going to finish it by a specific date and time.’ I wanted to make a record that was more cohesive, that sounded like it all came from the one session. I wanted it to reflect my DJing style a bit more, less pop, less disco, more machines. There's no live bass and barring a few hi-hats, there's no live drums. 

“I began in Stuttgart - simply by creating about 12 drum loops. I then synched these up to some gear and created some bass lines so I had some solid grooves to start with. Then I went to NY and spent a couple of days at Holy Ghost's studio playing around with Nick and his modular synth coming up with different sequences and sounds. I then took all this over to Transmitter Park Studios in Greenpoint and spent a few days with the wizard that is Morgan Wiley of Midnight Magic and Tippy Toes. He's one of my favourite keyboard players on the planet. Sometimes I had a specific thing I wanted him to do, but mostly I just played him some things I like and got him to jam out on what I had come up with or play some nice chords or chord progressions. 

“I took all this back home and started to fool around with it and knock it into shape before sending it out for vocals. With the song I did with Museum Of Love, 'What Follows', Dennis and Pat were actually in Europe and they came by and stayed with me for a few days, so we made that one in Stuttgart over a few nights once I got the kids to bed. It was particularly fun and easy. I think the wine helped. 

“Then I brought it all to Juan's World in New Hampshire where we drank a LOT of coffee and did some additional production and mixed everything. Finishing the record with Juan was a game changer for me. We worked so hard. We finished eleven songs in eleven days, no joke.” 

The results are convincing - What Follows is definitely an album dedicated to dance music, but one that retains hallmarks of his previous LPs: good songs. Alexis Taylor turns in two memorable performances on lead single ‘End Of The Trail’ and album opener ‘In Love’; Museum of Love - Pat Mahoney and Dennis McNany - lend the album title track an air of something mined from the two months in between the death of Joy Division and the birth of New Order; and Nancy Whang gave such a strong vocal for ‘Lose Control’ that Lambkin and Maclean threw out the existing track and recorded the backing along with the vocal in one take, which the two producers working the machines live. Lambkin: “I had so much fun with Lose Control - and it inspired me to make so much more music. I've written 12 new tracks since finishing the record.” 

Newbies Jay Green and New Jackson hit their marks too - Green - best known for fronting American punk bands Orchid and Panthers - narrates Is There No End as though it were sibling to From The Cradle To The Rave’s single Simple Things. New Jackson makes two appearances, on both Phase Out and OB-8 (Winter Version), adding oddball vocals and spaced-out Krautrock guitar arrangements. 

How did the guests come about? Lambkin: “I didn't have a big plan, I just knew that I wanted to work with friends. I knew I wanted to do something with Museum Of Love again. I also knew I would do something with Nancy, I couldn't make a Shit Robot record without Nancy. Then while I was working on End Of The Trail, I could hear Alexis's voice in my head, it just seemed a perfect fit. New Jackson is my younger brother’s old room mate and I've wanted to do something with Jay ever since I made the Green Machine 12”s a few years back.” 

What Follows was preceded by two 12” singles - Where Its At (Feat. Reggie Watts), backed with a killer remix from Johnny Aux - and original version of album closer OB-8. 

Track List:

1. In Love (Feat. Alexis Taylor)
2. What Follows (Feat. Museum of Love)
3. Ten Miles High
4. Lose Control (Feat. Nancy Whang)
5. End Of The Trail (Feat. Alexis Taylor)
6. Phase Out
7. Wir Warten
8. Is There No End (Feat. Jay Green)
9. OB-8 (Winter Mix) [Feat. New Jackson]

DFA / Astralwerks (ASW60970 / 2006)

Tracklist:
a) Wrong Galaxy
b) Triumph

This package includes all three Shit Robot vinyl LPs at special bundled price.

"From the Cradle to the Rave" (DFA2253)

"We Got A Love" (DFA2396)

"What Follows" (DFA2484)

UK white label promo with title sticker in plain sleeve.
(dfaemidj 2176 / 2007)

 

A1. End Of The World

A2. Go To Sleep (Deerhunter Remix)

B1. Go To Sleep

B2. Go To Sleep (Eluvium Remix)

 

White label promo with title sticker in plain sleeve. 
(dfaemi  2176 / 2007)

 

A. End Of The World

B. Go To Sleep

DFA EMI UK 12" / dfaemidj 2176 / 2007 / Picture sleeve with promo sticker

 

A1. End Of The World

A2. Go To Sleep (Deerhunter Remix)

B1. Go To Sleep

B2. Go To Sleep (Eluvium Remix)